How to Care for and Preserve Your Collectibles, Heirlooms, andOther Prized Possessions

“Saving Stuff” is about preserving and maintaining “the museum of you”. This museum is made up of the objects that have special value for you. I can’t stop an earthquake, flood, or alien invasion, but I can share how to prevent most homegrown catastrophes as well as how to go about saving stuff: comic books, wedding dresses, baseball cards, furniture, stamps, papers, film, pictures, records, DVDs, CDs, doll houses, flags, and weird and wacky things like Cousin Cecil’s African water buffalo head or your private collection of sheep’s eyeballs kept by your grandfather in mayonnaise jars. In this book I will show you how to save almost anything you want.”

At the time of publication, the author was the Senior Conservator of the Smithsonian Institution. His years of experience in the conservation and preservation of objects, mark him as an expert in his field.

His writing collaborator, Louisa Jagger, is a “saver of stuff” and the stories she shares revolve around common mistakes she has made in caring for her own collectibles, mistakes she hopes she can help the reader avoid.

According to the author, this book is not meant to be read from cover to cover. It is important to read through Chapters 1 and 2. There the reader will find basic important information about how to care for objects in general.

The following 13 chapters consist of in-depth discussions covering a particular category of collectible as well as how to care for and preserve each object. Since each type of collectible has its own section within the category chapter, the reader can turn to the chapter to find the information he or she is most interested in without having to read through the entire book.

Williams includes a Risk Chart for Collectibles at the end of Chapter 1. Each category of collectible — paper, glass and ceramics, wood and baskets, textiles, metals, photos, paintings, watercolors, pastels, plastics — is listed and across the page are the risks for damage from which the object would be most in danger. The risks, depending on the object, include light, insects and mold, handling and misuse, contaminants, normal use, temperature and moisture.

He also includes puppies and kittens (and children) who “…inflict 90 percent of the damage on collectibles as compared to grown-up pets. As a note of encouragement, pet’s manners often improve with age. Kid’s manners do, too.”

Included in these two chapters are ideas on how to decide what you would like to save.

Williams says, “People save stuff for sentimental as well as for financial reasons. Deciding what is a collectible is all about what is important to you.”

Unless you have unlimited space and resources, you can’t save everything, and so most people are forced to make choices. Once choices are made, don’t feel guilty, because it is okay to sell, give or throw stuff away.

The author stresses the importance of prioritizing to compile a list of objects. Two worksheets for this purpose are included at the end of Chapter 2. On Worksheet 1: Why It Is Important to You and on Worksheet 2: Everything You Know.

Completing Worksheet 2 is vital because it asks the questions who, what, when, and where.

Who owned it? Who made it? How did you acquire it? Do you plan to leave it to someone?

What is its value? What did you pay for it and do you have the original bill of sale? What is it made of? What is its condition?

When was the object made and when did you or your family acquire it?

Where did it come from and are there marks to give you clues to its origin or maker?

A list like this would also provide valuable information to family heirs, to appraisers for purposes of valuation, and to insurance adjusters in the event of damage or loss due to earthquake, fire or flood.

Interwoven throughout the chapters are Don’s Tips, where the author shares his vast experience and knowledge of preservation and includes “everything from debunking old wives’ tales to novel uses of everyday materials around the house.” From never wrap your silver in Saran Wrap to never use furniture polish, as well as an interesting comment on the “mythology of cedar chests”, are among the many useful nuggets of information.

He advises when it is necessary to get a second opinion. Williams states: “If you are faced with the unenviable task of sorting through a garage, attic or basement filled with family stuff, you might be wise to have an appraiser take a quick walk-through with you to advise you on what to keep and what is really ready for the dumpster.”

The final section of the book is entitled Resources and contains a complete A to Z list of what the author describes as Your Saving Stuff Tool Kit. Everything anyone would need to maintain and safely keep every kind of collectible is briefly and clearly described. A list of suppliers where all of these tools can be found is also included.

Saving Stuff, as stated on the back cover of this comprehensive guide, “is for both the serious collector and the sometimes sentimentalist. With step-by-step instructions, detailed illustrations, tips for making the things you use every day last, and stories about how the Smithsonian takes care of our national treasures, Saving Stuff is the only book you need to take care of the stuff you love.”

Source

Saving Stuff:How to Care for and Preserve Your Collectibles, Heirlooms, and Other Prized Possessions

Interview with Linda Hetzer and Janet Hulstrand for Next Avenue by Jill Yanish, Forbes Magazine. March 27, 2014

Don Williams retired from the Smithsonian in December of 2012 after 30 years as Senior Furniture Conservator. He purchased a large barn in Illinois, dismantled it and re-assembled it in the rural Virginia mountains. He now resides at the Barn on White Run where he offers classes and workshops. He writes articles and books, researches historical craft and artifacts, and constructs and conserves furniture and decorative arts. He also makes and sells tools and supplies for restoration, conservation and construction.

The word redux has its root in the Latin verb reducere meaning to lead back, something brought back, or a resurgence.

Southern California will soon be seeing a “resurgence” giving us a new chance to view some of the greatest artifacts of Ancient Egypt in a major exhibition entitled King Tut: Treasures of the Golden Pharaoh. The exhibit, the first of a 10-city world tour, will open in Los Angeles on March 24, 2018 at the California Science Center in Exposition Park and will be on view until early January 2019.

This exhibit will be the largest world tour ever, comprising 150 artifacts. The previous tours had a limit of 50 objects. Many of these King Tut treasures have never been seen outside of Egypt. It will be the last time to view these artifacts before their return to Egypt to be housed permanently in the new Egyptian Museum. The purpose of the tour is to celebrate the 100th anniversary of the discovery of King Tutankhamen’s tomb by archaeologist Howard Carter in 1922.

Featuring items owned and used by the “Boy King” (he is thought to have been 19 at the time of his death), the exhibit will include golden jewelry, carvings, sculptures and ritual artifacts. In addition, multimedia displays include how the scientific analysis of the 3000-year old mummy has revealed new information on his health and ancestry. It also addresses how the latest in archaeology tools are aiding in the discovery of new tombs and in the analyzing of existing ones in new ways.

There have been several waves of Egyptian Revival throughout the last two centuries. The discovery of the Rosetta Stone during Napoleon’s 1798-99 Egyptian campaign was the key to deciphering ancient Egyptian hieroglyphics. The publication of volumes in 1809 cataloging the sights and discoveries of the eventually ill-fated campaign ignited the creation of the field of Egyptology. A second edition in 1830 elicited further interest in Egyptian art and culture.

Egyptian inspired chairs

Egyptian inspired buildings were erected in Paris during the decade after Napoleon’s campaign. Ancient Egyptian art and architecture provided designers in France and England with a wide range of motifs. Winged sun-disks, hawks and crocodiles were all incorporated into decorative arts and architecture. An Egyptian dining room was created (1802-1806) at Goodwood House in Sussex for the Duke of Richmond. It was the first interior in England that had its origin from the illustrations of ancient Egyptian monuments by the artist who had accompanied Napoleon to Egypt. A number of motifs were applied architecturally and to the design of the furniture in the room. The dining chairs had bronze crocodile figures inserted into their backs.

In America, Egyptian influence during these early years was primarily architectural. Egyptian revival architecture in America can be seen in Benjamin Latrobe’s original design (not built) for the Library of Congress Room in the new Capitol (1808), the 4th Precinct Police Station in New Orleans (1836), The Tombs in New York City (1838), and the Washington Monument (1850) as well as in many other public and private buildings in cities and towns across America. There is a 3500-year old Egyptian obelisk, Cleopatra’s Needle, in New York City’s Central Park. Egyptian themes, however, didn’t begin to be evident in the decorative arts until the end of the 19th century.

After the Civil War, Americans became interested in other cultures. Designers and artists looked to Japan, the Middle East and Africa for new ideas. Egyptian motifs were combined with more traditional western styles and the result incorporated details such as gilt-bronze sphinxes, textiles woven with Egyptian themes, geometric depictions of palm fronds, lotus blossoms and reeds.

The opening of the Suez Canal in 1869, Verdi’s 1871 opera Aida and continued archaeological discoveries, particularly the excavation at Tel El-Amarna in 1887, kept the public’s awareness and interest focused on Egypt.

Medallion with Egyptian Scarab motif

Egyptian symbols and images translated well into the decorative arts and this aesthetic found its way into jewelry and silver designs. At the turn of the 20th century as the Arts and Crafts and Art Nouveau styles became popular, Egyptian motifs appeared in jewelry, textiles, wallpaper and other decorative arts, providing an exotic alternative to the conventional and traditional styles of the time.

Scholars refer to these periods as Egyptomania – an obsession with Egyptian antiquities and design. However, there would not be another major one until the discovery of King Tut’s Tomb in 1922. Egyptian motifs began to be seen everywhere in modern culture and became an essential element in Art Deco design and architecture, carrying on into the 1930’s and early 1940’s.

The phenomenon continued to grip the world fueled by the rumors of a curse related to the death of Lord Caernarvon, who had financed Carter’s search for the tomb. According to Robert Nemeth, an English architectural historian and conservationist:

“The discovery was still in the early days for Art Deco which took its name from the International Exhibition of Decorative Arts and Modern Industries held in Paris in 1925. Designers of the time were enamored by the brilliant colors, angular shapes, hieroglyphics and mysterious symbols prevalent in ancient Egypt. These design features were incorporated into Art Deco furniture, art, clothing, jewelry and architecture.”

It will be interesting to see if the upcoming King Tut Exhibition will be the catalyst for a new wave of Egyptomania in design and the decorative arts. As an appraiser, it is important for us to understand the forces in the marketplace that affect value. An event like this may cause an increase in demand for items with these motifs.

As early as the 1920s, the Coachella Valley, and particularly Palm Springs, became known for the dry clear climate and mild warm winters which were so helpful to those recuperating from serious respiratory conditions. Wealthy people from all over the country, wishing to escape the winter snows and cold, soon began to value the area for relaxation and fun and as a place to enjoy the stark beauty and contrast of the scenic wonders the desert offered.

Soon the area became a get-away playground for the Hollywood elite and the stars created their own burgeoning movie colony here in the desert. Palm Springs became a safe retreat from the prying eyes of the “paparazzi” of those days. The stars could stroll down the main streets and enjoy themselves in the restaurants and watering holes in relative comfort confident in being fairly anonymous.

Even though numerous spas and resorts sprung up to accommodate the visitors, many of the “snowbirds” and movie stars began to build second homes. Because these homes were not the primary residences of the occupants, the owners felt that they had more freedom to take architectural risks in the designs. The uniqueness of the desert landscape and environment and the luminous, rich, clear and strong light required an architecture that was sophisticated and understated – one that would blend with the spectacular austereness and palette of the desert.

The desert was a blank canvas to the architect, open to creative and innovative approaches in new lines, angles, and textures that worked with the environment. It inspired artists to work with, blending and contrasting, the natural materials in abundance around them.

Dolly Faibyshev states in her book Palm Springs Mid-Century Modern, that Palm Springs has one of the largest concentrations of mid-century modern architecture in the country. Many of the most famous architects of the period were inspired by the desert environment. With commissions from film stars, private wealthy patrons, and corporations, architects of the caliber of Richard Neutra, Donald Wexler, John Lautner, Paul Williams, William Krisel, and A. Quincy Jones, among many other notables, were able to envision, design and play with new and innovative architectural features.

The style emphasized creating structures with broad generous windows and open floor plans, all to the intention of opening up interior spaces and bringing the outside in. The novel post and beam design eliminated the need for heavy and bulky support walls in favor of walls that seemed to be made of glass. The idea was one of “clean simplicity and integration with nature”. In mid-century designs, function did not follow form, it was as important as form.

The mid-century modern movement in the United States was an American reflection of the International Style and the Bauhas movements which had held sway in early 20th century modern architecture. In the 1940’s, the term was used to describe a dissatisfaction with the prevalent styles in modern architecture and a reaction to the lack of variety of Mies van der Rohe and LeCorbusier. Surface ornament and historical references began to re-emerge and influence decorative forms. The International Style’s architectural orthodoxy was challenged by these new approaches. Mid-century design was used in residential structures with the “goal of bringing modernism to post-war American communities.”

The deserts of Palm Springs offered architects and designers fertile and virtually untouched ground for their experimentation with and development of fresh and innovative forms of design. An outstanding example is the work of A. Quincy Jones, the architect and designer of the Walter Annenberg estate, Sunnylands.

mid-century modern chair, style of Bertoia

Palm Springs celebrates its heritage with Modernism Week, February 15-25, 2018, a very popular and always sold-out event. Fortunately, there is a Fall Preview from October 19-22, 2017. Although also a popular event, it gives a brief overview of the full two-weeks taking place in February. The Mission of Modernism Week is to celebrate and foster appreciation of mid-century architecture, design, art, fashion, and culture. A list of events and tours can be found on the site modernismweekly.com. Tickets can be purchased online and are for sale now. The online store also offers many books, prints, photographs and objects relating to the event and to all aspects of mid-century modernism.

As a personal property appraiser, it’s important to recognize mid-century modern furniture and decorative art. Many of the important designers are highly collectible, and the values for those items have increased over the last several years.

In other events this month, a four-month long showcase of Latin-American and Latino Art entitled Pacific Standard Time: LA/LA is being launched on September 17, 2017. Fifty museums in Southern California will offer free admission on that day. According to the website pacificstandardtime.org, the exhibit is a far-reaching and ambitious exploration of Latin American art in dialogue with Los Angeles. Led by the Getty, it is a collaborative effort from Arts institutions across Southern California. Further information can be found on the website as well as on laist.com.

Tourism really hasn’t changed very much over the last 300 years. Traveling for pleasure, knowledge, and acquisition had its beginnings in the 17th century. Those travelers on the classic “Grand Tour” and modern-day tourists have much in common – a willingness to be inspired and enlightened by the art, beauty, and culture embodied in the famous cities of Europe, and eventually as travel methods improved, around the world.

The emphasis in education, particularly for young people of wealth and privilege, was steeped in Classical literature, art and architecture. At first Italy and France were the goal. The desire to see firsthand all they had studied gave rise to what we today call the “gap year – two or even three years then – and the tradition known as the Grand Tour came to be.

Antique print of Pompei theater, southern Italy. Original, created by Wolfensberger and Radcliffe, was published in Florence, Italy, 1842, Luigi Bardi ed.

It soon became the fashionable thing to do before settling down to fulfill the familial duties waiting for them at home. Enduring the extreme rigors, the weeks and sometimes months it took to get somewhere, and the perilous dangers of travel in those days was part of the adventure. In the days before photography, it formed the basis for the sketches, letters, diaries and eventually books they wrote about their experiences as well as the lessons they learned on their journeys. They collected art, sculpture, literature, and decorative objets d’art and shipped it all home to fill their country estates and London townhouses.

What to do and where to stay, what and where to eat; the best routes for traveling, the best merchants from whom to buy, the best artist studios; the best entertainment, and the visual wonders, natural and man-made were all experiences communicated to family, friends, and future travelers. Sound familiar? Now we have up-to-date guidebooks, Instagram and the Internet to communicate our favorite images, ideas, and experiences.

In the words of Matt Gross, of the Frugal Traveler, a New York Times Blog: “Even though the basic contours of the Grand Tour were established in the 17th century – as a kind of finishing school for affluent young gents – it has mutated to meet the shifting demands of generations of travelers.”

Now bargain fares and “If it’s Tuesday, it must be Belgium” type tours are available to everyone, not just the privileged few. Colleges have instituted semesters abroad where students study and immerse themselves in the arts and culture of the country under the auspices of the university.

Eiffel tower souvenir

All travelers, and especially those who have traveled the world, enjoy collecting objects that reflect the countries they have visited. Many of them find themselves in a similar situation as this woman. She has traveled all seven continents and has filled her home with dozens of artworks and objects displaying her interests. When asked if she had cataloged her possessions, she replied: “Oh. No, I haven’t ever thought about it as they are really only of value to me.” She was advised when the time came, her family and heirs were going to be left with the very stressful task of figuring it all out.

An excellent source for organization to aid future heirs as well as estate and insurance appraisers is On the Record – Creating a Road Map for Your Family. Amy Praskac, owner of On the Record has compiled a comprehensive website on all aspects of record keeping. She also has a blog filled with valuable information and ideas on how to gather and store records for safekeeping.

This summer, an event of note allows “travelers” to embark on a “grand tour” of Europe without getting on an airplane. A major festival of the arts going on in Southern California (July 7- August 31) is the 2017 Pageant of the Mastersin Laguna Beach. The theme this year is aptly titled “The Grand Tour”.

According to the website: “A pageant ticket becomes your passport on the Grand Tour to experience spectacle, music, stories and grand illusions as masterpieces come to life. …a breathtaking theatrical journey through the centuries in search of unforgettable art.”

For some first-hand observations about the Grand Tour, there are several very enjoyable books by such famous authors as Mark Twain, Henry James, Edward Gibbon, and Francis Bacon, whose advice to travelers in 1625 is still relevant today. And of course, lots of fun movies to watch.

19th century table inlaid with porcelain plaques.

As an appraiser, I have had the opportunity to examine several 19th century souvenirs of The Grand Tour including sets of plaster medallions with Classical scenes, prints depicting ancient ruins, carved cameo shells and micro mosaics. I’ve even seen tables inlaid with stone, mosaics and porcelain plaques.

Sources

Grand Tours and Cook’s Tours: A History of Leisure Travel, 1750-1915. Lynne Withey. William Morrow, 1997.

Antiques and Personal Property Appraisals

Kathi Jablonsky, ISA CAPP is a full time Certified Appraiser of Personal Property. Designated with the International Society of Appraisers in Antiques, Furnishings + Decorative Art. Nineteen years of personal property appraisal experience, since 1999. Generalist appraiser specializing in estates, collections and large donations. Specialty in art glass. Member of the Desert Estate Planning Council, Decorative Arts Trust, Foundation For Appraisal Education and Art Alliance For Contemporary Glass.

The Collector’s Handbook, 10th edition is written by James Halperin, Gregory Rohan and Mark Predergast in conjunction with Heritage Auctions. Updated in 2016, it contains sections on administering, estate planning, evaluating and selling your collection. There are good references in the appendices as well. At 181 pages, there is a wealth of information and advice for collectors and their heirs on how to protect their investment.

There are discussions in several chapters about the importance of having your collection appraised for different reasons including insurance, planning, donation, selling, estate tax or division. It also mentions the importance of using professional and qualified personal property appraisers.

The book is available by free download on the Heritage Auctions website (registration required) or by hard copy for a nominal fee. I highly recommend taking the time to download and keep a copy of this handy reference book.

We don’t like to think about it, but there are several situations where our art, antiques and collectibles will be affected in a major way. Life’s events have a way of separating us from our possessions.

I would like add a fourth “D” to the list ….. disaster. Our beloved objects can be damaged or in the worst case scenario, destroyed. I discussed this subject in an earlier post titled “Protecting Your Valuables from a Disaster”.

Protection of your collection and planning for the future is essential. By having an inventory and professional appraisal, you can make informed decisions regarding insurance, donation, division or liquidation. At the end of every episode of the TV show “Strange Inheritance” they remind us “you can’t take it with you”.

A Circle of Trust has been established by the three major professional societies for personal property appraisers to jointly promote education to the public regarding the importance of using credentialed appraisers. They include the International Society of Appraisers, American Society of Appraisers and the Appraisers Association of American. The joint announcement states:

Members of these associations earn their credentials through a stringent admissions, training and testing process, are required to comply with IRS and AQB guidelines, adhere to a code of ethics, and to complete continuing education requirements. These qualifications provide a level of professionalism that is unmatched, and ensure the public that appraisals performed by an accredited appraiser are among the most reliable appraisals available.

All three organizations strongly urge the public to verify the educational and experiential background of an appraiser prior to retaining their services, and to be wary of red flags that indicate an appraiser may not be objective in conducting appraisals. These include charging for appraisals based on the appraised value of an item, or offering to purchase an item the appraiser has appraised. Professional, competent appraisers always conduct appraisals at “arm’s length,” without self-interest.

The full news release and contact information for the three societies can be found at PRSYNC.

Investment News has a good article titled “The Art of Legacy Planning – 7 Best Practices for Gifting Art to Museums”. In the article they state that high net worth individuals spend an average of 17% of their wealth on art and antiques, a passion investment. Part of managing this investment is planning for the future of the collection. One option is to donate to a non-profit organization such as a museum. To maximize the benefit from a donation these steps are suggested:

1. Create a plan with your client, legal counsel and an independent art adviser that includes the donor’s close family or other heirs as appropriate. Including family and/or heirs in the process can help clarify a donor’s intent, prevent future conflict and actively aid in preserving the donor’s legacy. The plan should include having the artwork professionally appraised by an accredited appraiser with relevant experience in the type of artwork being donated. The appraisal cannot be made earlier than 60 days before the donation. In cases where donors are concerned about whether the IRS may accept a valuation, such as when there are fluctuating markets for similar artwork, an IRS Statement of Value may be obtained for artwork valued at $50,000 or more to provide the donor with certainty.

2. Try to place artwork in museums that have missions and continuing collection interests that strongly align with your clients’ intent and contents of their collection. Clients often will know of strong prospects. But clients focused and passionate about their collection may not recognize how their collection will best fit with a museum’s broader collection, its goals and its limitations in space and other resources.

3. Consider art museum policies and practices for donors and “deaccessioning” (removing items from museum holdings, usually to sell them). Mr. Welch pointed out that “many museums want to retain the ability to improve their collections through the acquisition of better examples. In such a case, a gifted artwork might be deaccessioned and the proceeds used to acquire a superior work. When that happens, the donor’s name of the original gift typically appears in the newly acquired work’s credit line.”

4. Consider museums that are members of monitoring or regulating associations. For example, the Association of Art Museum Directors requires a written policy for “deaccession principles, procedures and processes”. They also require that “funds received from the disposal of a deaccessioned work shall not be used for operations or capital expenses. Such funds, including any earnings and appreciation thereon, may be used only for the acquisition of works in a manner consistent with the museum’s policy on the use of restricted acquisition funds. In order to account properly for their use, AAMD recommends that such funds, including any earnings and appreciation, be tracked separate from other acquisition funds.”

5. Check the health of organizational finances by looking at Form 990 tax filings and/or charity rating agencies like Charity Navigator. One quick test is to look at total assets and total liabilities. Stable charities — like stable businesses — generally have assets exceeding liabilities.

6. Consider supporting museum operating costs as part of a donor’s commitment to their gift of artwork. Financially supporting the museum is another way of helping to preserve a donor’s legacy and a logical step in a client’s charitable, financial and tax planning.

7. As you draft an agreement for the gift, consider including a “statement of intent” that clearly and personally outlines the desires and expectations of the donor for their donation. Sharing this statement with family (and/or other heirs) and the beneficiary museum can help clarify intent, expectations and address any concerns of heirs or the museum. A statement of intent can also clarify donor intent for future generations and may help prevent legal challenges. Donors who bequeath their art collections to museums share an intimate part of their lives. Advisers can help provide guidance that will preserve and protect their client’s wishes, smooth the process and help establish their client’s legacy for the benefit of future generations.

About the Author: Kathi Jablonsky, ISA CAPP is a certified appraiser of personal property designated in Antiques and Residential Contents with the International Society of Appraisers. She is based in Southern California and serves the San Diego and Palm Desert regions.